Robert Louis Stevenson (1850 - 1894) was a Scottish novelist, poet, and essayist, best known for his classicn ovels, such as Treasure Island. This volume includes "The Dynamiter," a collection of connected short stories by Stevenson, including: Prologue of the Cigar Divan, Zero's Tale of the Explosive Bomb, and Story of the Fair Cuban.

Robert Louis Stevenson and theories of reading is both an exceptionally well researched study of the novelist, and well as an intriguing exploration of 'literary consumption'. Glenda Norquay presents fresh interpretations of Stevenson’s literary essays, of major works including The Master of Ballantrae, and some of his more neglected fiction such as St Ives and The Wrecker, as well as illuminating our understanding of his role within debates over popular fiction, romance and reading pleasure. She offers an unusual combination of literary history and reception theory and argues that Stevenson both exemplified tensions within the literary market of his time and anticipated later developments in reading theory. By combining the study of nineteenth-century cultural politics with detailed analysis of his Scottish Calvinism, Stevenson is reassessed as both a Victorian and Scottish writer. The book is aimed at scholars, postgraduates and undergraduates with an interest in the nineteenth-century literary marketplace, in Scottish culture, and in reading /reception theory as well as Stevenson enthusiasts.

At last - a complete new edition of the poetry of Robert Louis Stevenson.During his lifetime Stevenson published A Child's Garden of Verses (1885), Penny Whistles, Underwoods (1887) and Ballads (1890). There were also various private press adventures in poetry with his stepson Lloyd Osbourne, and the posthumous Songs of Travel (1895), and New Poems (1918). This new edition contains these collections and also some of Stevenson's printed and manuscript poems that have never been published in any collection. The edition also identifies and restores various poems assembled by Stevenson in his Notebooks, many of which were mutilated by members of The Boston Bibliophile Society.The editor, Roger Lewis, has carefully studied Stevenson's manuscripts and letters, identifying many variants in individual poems and in orders of his collections, as well as in the editorial procedures of a succession of RLS's literary associates who claimed to be fulfilling his intentions or acting on his authority.The ordering of this edition will follow Stevenson's own final arrangement over unauthorised editorial rearrangments or strict considerations of chronology. Complete and accurate dates of composition and publication of individual poems and of collections are given wherever possible.Appendices include bibliographical description and location for manuscript and printed sources of all poems in the edition; 'poems in process' - how Stevenson sketched and revised during composition; notebooks - bibliographical history and significance; chronology and ordonnance of poetic units. There are also explanatory and textual notes. Scots poems are glossed and annotated using The Concise Scots Dictionary and web resources of the SNDA.A substantial introduction covers the publishing histories of individual volumes and literary influences, placing emphasis on Stevenson as a Scottish poet and arguing for his best verse to be considered

Stevenson was born at 8 Howard Place, Edinburgh, Scotland, on 13 November 1850, to Thomas Stevenson (1818-87), a leading lighthouse engineer, and his wife Margaret Isabella (born Balfour; 1829-97). He was christened Robert Lewis Balfour Stevenson. At about age 18, Stevenson changed the spelling of "Lewis" to "Louis", and in 1873, he dropped "Balfour

Roslyn Jolly examines a crucial period (1887-1894) in Stevenson's life, focusing on the self-transformation wrought in his Pacific travel-writing and political texts. As his geographical and cultural horizons expanded, Stevenson's professional sphere also enlarged. A key feature of the study is Jolly's analysis of the resistance of Victorian readers, not only to the Pacific subject matter of Stevenson's later works, but also to his experiments with new styles and genres.